Roburt

More ZTSC related stuff ..........

1960's trade ads to attract customers to use their facilities ...

Back in the late 60's / early 70's, to find ZTSC stamped into the runout groove of a 45 you didn't know meant that you had to take the risk & buy it blind (if on offer for cents) .... With the passage of time, we've learnt that the ID had a more mundane reason for it's use ... it just identified every 45 that had been mastered at Chicago's Columbia Recording Studio complex at 630 North McClurg Court. CBS had bought this existing building in 1954 and moved it's local studio there in 56 from the famous Wrigley Building (Nth Michigan Ave) skyscraper downtown. Chicago, along with the New York & Hollywood complexes were Columbia's main hubs of operation (record wise). The Chicago building also housed their local TV & radio stations (WBBM). Before CBS took over, the building (originally built in 1922) had been used as offices and as the Chicago Arena (a sports complex) and originally by the Chicago Riding Club (as stables & display area). It's common sense that 45's on Okeh would be mastered there but why the likes of Motown, Golden World, Palmer, Impact, Inferno, Correc-tone, Boo, Baracuda, Dearborn, Drew, Groovesville, Giant, Crajon, One-derful, Chess, Lovelite, 4 Brothers and all the other labels would select Columbia as their 1st choice for mastering is not so obvious. Obviously the team housed in the complex were good at what they did but the management there also marketed their services quite aggressively. Couple that with the fact that after tracks had been mastered by Columbia, they could easily been forwarded onto the company's pressing plant in Terre Haute, Indiana for the actual singles to be pressed up and you had a great one-stop 'record making' shop. There don't seem to be too many pictures definitely taken inside the complex on the net, but old Columbia trade ads feature pictures that show what went on inside their NY, LA & Chicago buildings. Oh, to have been allowed to tour the place between 1964 and 1974 (when it closed as a mastering facility). Pictures of the building back in it's Riding Club days & then towards the end of it's life ... ...

Not when I bought it as a new release ...

The other labels should have know about Keymen's MoSoul label, as it had a Soul Runners 45 on the US national R&B charts from January thru to March 67. In addition to the 45's chart status, it was getting lots of radio airplay and trade mags were featuring a full page ad for the record ....

No idea I'm afraid. The LP version may be a re-cut but they might just have used the master tape from the old 45 track (but not faded it out as early).

Many thanks for the replies.

Two releases on the Ohio Mo-Soul label ...

Obviously, all the players involved with the various MoSoul labels were hoping that the similarity of their label name to 'Motown' would spark some record buyers interest.

Anyone have any idea what was going on back in May 67 in LA and New York. A new label, Mo-Soul, was set up in New York by Tony Major (who produced tracks around that time that were released on MGM's Cub and Verve Forecast labels) and the label had signed 5 acts. Announcements were made in the trade press about upcoming releases and one of the acts was supposedly placed in a movie being made at the time (the movie was released not long after -- UP THE DOWN STAIRCASE). BUT there was already an active MoSoul label based out of LA (the Keymen connected imprint). This had been going since late 66 and was just putting out it's 4th 45 release in May 67 .... strangely, the label went into hibernation soon afterwards but a 45 on Mo-Soul was put out by Barry White / Bob Relf in early 72 (though the 45's cat # was 45-1971 so I guess it was made ready in 71). Incidently, there was another Mo-Soul label active in 71, this being out of Columbus Ohio and run by Eddy Parker (the manager of Vikki Kenyatta and funk / soul outfit the Suspicious Can Openers) ... to further confuse matters there was also a Mor Soul label (out of NOla) that was active around this same time period & back in 69 there was the More Soul label out of Chicago.. To the best of my knowledge, no releases appeared on the New York based label and none of the named acts ever went on to enjoy releases elsewhere.

Do Paypal get involved if an item was paid for using them ... but the item has failed to materialise (my ongoing 2 month old dispute is with Royal Mail).

The Move 12" that featured one of Joey's tracks ...

A bit of related info here ... https://www.discogs.com/artist/1457975-Joe-Dorgan He (Joe Dorgan / Joey Dee's) was in contact with Move Records in Edinburgh in the 80's ... one of his tracks was released on their 1st 'MOVE INTO SOUL' various artists 12". I was connected with Move but can't recall too much about Joey now. The sleeve notes on his Mazel Express label LP from 83 contained some info on him though. The track you're asking about was included on that LP.

I've kept in touch with Gwen Owens over the last 10 years or so ... for some while, she'd worked in the LA office of the Holland brothers ... and they had been working on a musical play (a la Broadway type show featuring their music) for a good while ... In the past, they'd got back together with Lamont Dozier to compose the score for the musical production of 'The First Wives Club', based on the novel and the later film. That was supposed to make it to Broadway a couple of years ago but I don't think it did. Anyway, Eddie's in big trouble with the US tax man. They're gonna take all his remaining possessions to settle an outstanding $20 million tax bill. It seems that when he was short (in the past) he'd sold the rights to his songwriting royalties and so has little money coming in these days. https://www.detroitnews.com/story/news/local/detroit-city/2017/12/06/motown-great-eddie-holland-penniless-tax-bill/108383710/

As far as I understand, Ady in talks with proposed new team who'll run the event ...

But is it(S) IN YOUR POWER (Capitol; 1969) to say he didn't use another name at times ??

The song has more recently been released here by J B Bingham. This version is credited to H B Barnum as producer. The other side of this 45 features the song ALL ALONE BY THE TELEPHONE which HB cut on Checkmates Ltd in 76. J B's version of ALL ALONE BY THE TELEPHONE originally escaped on UA in 76 and HB produced that version too. ALSO the B side of that Checkmates Polydor 45 featured a song co-written by Walter Johnson who was originally from Cleveland and worked there with the likes of Bobby Massey. Walter Johnson also worked with the Nights (ABC) in 76 and he cut their album in HB's recording studio. HB & Walter Johnson also worked together on OC Smith's Motown cuts ... so there's obviously linkage between all these projects. I'd guess that the Checkmates Ltd were working in HB's studio about the same time as J B and Walter Johnson / the Nights were also. So the backing track of JB's version was probably made available to Checkmates Ltd (or the other way around) but neither version escaped in the US at that time. You can listen to JB's version here ... https://www.northernsouldirect.co.uk/jb-bingham-fellas-don-t-let-the-girls-take-over-all-alone-by-the-telephone-soul-junction-7-vinyl.html

Don't think these guys qualify as blue eyed soul ....

Group did better in UK for live & TV shows too than they did back at home. I know they were sat around back in Philly when they could have been playing live shows here in 68 (& a fake version of the group was fetched over here from NY -- the Internationals ... who went on to become the Persuaders). The real Show Stoppers toured the UK twice in 68 ... the 1st time doing Top of the Pops, the NME Poll Winners Show & clubs such as the California Ballroom in Dunstable (April / May) ... they then returned in November and did BBC TV's Crackerjack on a Friday before dashing up to Manc to do the Saturday niter at the Wheel. Don't think this UK outfit got too many UK soul club bookings at the time though ...

Another US TV show clip of Felice ... from the Hy-Lit show ...

I haven't been 'STILL LOOKING' in fact I'm just back from 5 weeks in Florida when my internet access was patchy ... I just happened to give some old Pilgrim Jubilee cuts a listen & thought mentioning them was still appropriate. If you truly dispute that gospel had a big influence on the emerging soul scene in the US, then I despair for you.

The announcement of Beacon Records first release is shown below ... The bit in a post above about this being an instant US success couldn't be further from the truth ... it didn't do much at all on it's initial US release. The Party Time 45 made no impact at all Stateside. The Show Time 45 managed to make 2 Philly R&B radio stn charts in April 67 ( low on WDAS's Top 30 in early April, whereas it was at No.7 on WHAT in mid April) and the 45 also achieved No. 118 on Billboard's Pop Top 100 in late May 67. However, it never made it onto the US R&B Top 40 at all. The Heritage version (a re-recording ?) only came about in May 68, after the record had become a UK pop chart hit -- it had entered the UK Top 40 at the very end of March 68. In fact, the record (in it's Show Time / Party Time days) never even got a mention in Billboard mag apart from that bubbling under the Nat Pop 'Hot 100' chart note ... I'd think it was being played on some US pop radio stns at the time (after Jamie / Guyden had sent out promo copies nationally I guess) plus on the Philly R&B stns but it struggled to make much impact R&B wise outside of Philly. Then after it had been a massive UK pop hit, the Heritage version made it higher on the US Hot 100 (peaking @ 87 in June 68).

On tonight ....

Being shown on Film 4 tonight ....

Another soulful outing from the Pilgim Jubillees ... they cut at Universal Studios in Chicago from 1959 (even though they were originally from Houston and were signed to Peacock ...